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  • Beijing Accelerator -
    Beijing Accelerator was created after being inspired by a recent visit to Beijing, and the realization of how quickly the dynamics of a city could transform into such apparent modernism. Although similar to an earlier prototype, Panoramic
  • Victor Acevedo is an artist best known for his digital work involving printmaking and video. Since 2007 his primary focus has been working with video and producing (electronic) visual music works. As an ongoing practice, Acevedo issues images as
  • Fisher, Scott S. and John O. Merritt, ed. Stereoscopic Displays and Applications III. Proc. SPIE 1669, Cambridge: 1992.
  • CROSS AND PLANE TO SPACE 2017, stereoscopic 3D animation, HD video, 8:05, loop, color, stereo. For projection at the ceiling. The title refers to Kandinsky's book "Point and Line to Plane" - here to the historic antipodes illusionism and
  • The first interactive moviemap was produced at MIT in the late 1970s of Aspen, Colorado. A gyroscopic stabilizer with 16mm stop-frame cameras was mounted on top of a camera car and a fifth wheel with an encoder triggered the cameras every 10 feet.
  • Wie das leise Spiel an der Kinder-Krippe fügen sich Formen im Schattenspiel zu einer Geschichte. Das hat etwas Zauberhaftes, doch die Bilder brechen schnell mit der vermeintlichen Idylle. Die indische Künstlerin Nalini Malani ist mit ihrer
  • Displacements is an immersive film installation. An archetypal Americana living room was installed in an exhibition space. Then two performers were filmed in the space using a 16mm motion picture camera on a slowly rotating turntable in the room’s
  • SeeBanff! - video
    SEE BANFF! is an interactive stereoscopic installation. It bears a strong - and intentional - resemblance to an Edison kinetoscope, which made its public debut one hundred years ago in April 1894. It achieved instant popularity, but was short-lived.
  • .. explore the potential of the human body to be an audio-visual instrument ..
  • Paradise -
    "Olga Kisseleva’s project for the Musée Chagall, is formulated as an echo to the works displayed in the exhibition space but opens the proposition as it expands its reach. She takes illustrations from sacred books as does Chagall, but her intention